Wednesday, October 30, 2013

Screaming Lord Sutch started as an English musician in the 1960s. Taking inspiration from Screaming Jay Hawkins, he took his music to what some people would call shock rock levels, pre-dating Alice Cooper. He would often dress up and perform live shows as Jack The Ripper and his music reflected Horror based themes. While he may be known for his song “Jack The Ripper” which has been covered by numerous Garage Rock bands from The Gruesomes to The White Stripes, in 1966 he released a version of the song “One Eyed Flying Purple People Eater” as a single. Backed with the song “You Don’t Care,” this single was released only in Germany and at the time not available in the U.S. The song was backed by, as were most of his recordings by The Savages.

"One Eyed Flying Purple People Eater" was originally written and performed by Sheb Wooley and released as a novelty song in 1958. The song itself quickly became a hit on the Billboard singles charts going to number one on the Pop and R&B charts in 1958. This strange song was adapted by Screaming Lord Sutch & The Savages in a Garage/R&B rave up style and even features a little bit of The Rolling Stones song “Satisfaction” at the end. On an interesting side note, Sutch is referenced in The Rolling Stones song “Get Off My Cloud” as the man “All dressed up in the Union Jack”. Sutch’s version of “Purple People Eater” was well received and eventually became one of Sutch’s best sellers.

Tuesday, October 22, 2013

The Neon Boys were a short lived band featuring members of Television (Tom Verlaine on guitar, Billy Fica on drums) and Richard Hell on bass and vocals. The bands existence would be brief only lasting from 1972-1973, but this band was the initial beginnings in the lineage of what would become two highly influential bands in the New York CBGB’s scene of the late 70s. The bands sound featured early budding elements that would be later displayed in the bands Television and Richard Hell & The Voidoids respectively, but during their early existence as a band they would not release any material officially. A seven inch split EP would be eventually released in 1980. The first two tracks would be recordings by the aforementioned Neon Boys, while the B-side contained two Richard Hell & The Voidoids tracks “Don’t Die” and a different mix of the song “Time”. “That’s All I Know (Right Now)” featured echoes of The Velvet Underground and the 13th Floor Elevators, while the version of “Love Comes In Spurts” reflected a proto-Punk dynamic influenced by 60’s Garage Rock musically. These four songs comprised the EP initially when released in 1980, but the song “High Heeled Wheels” was added to the EP when it was issued by Overground Records in 1991. This song leans more towards the sounds of Richard Hell and The Voidoids early material with Jazz sounding basslines.

In addition to these three Neon Boys tracks a few others have also been recorded, but were never released according to the book From The Velvets To The Voidoids by Clinton Heylin. “Poor Circulation, “Tramp” and “Hot Dog” are said to be the three remaining, unreleased tracks. Richard Hell would go on to play in Television with Verlaine and Fica, but leave to join The Heartbreakers with Johnny Thunders. He left after playing with The Heartbreakers for a short period to form Richard Hell & The Voidoids. Verlaine would go on with Television releasing two full length albums, before venturing into a solo career. This EP and the songs by The Neon Boys in particular are a document of Verlaine and Hell’s 1972-73 period and showcase a first draft of what would become Television and then eventually Richard Hell & The Voidoids.

Tuesday, October 15, 2013

On September 13th, 1993, Nirvana released what was to be their last full length album before Kurt Cobain’s untimely death, but for many it is difficult to separate the two events. For some people, these events have to remain connected and it would be difficult to say that in some ways they aren’t. However, if you look at the album in the context of the situation that Kurt Cobain and Nirvana were going through at the time, you might just see it differently. In Utero is notable for being the sonic opposite of Nevermind, the breakthrough album that pushed Nirvana into the spotlight in 1991. As a whole, In Utero seemed to be an artistic foray into the realm of Noise, Rock and Pop.

In Utero was produced and recorded by Steve Albini, known for his work in Big Black and other notable recording/producing credits such as The Pixies Surfer Rosa album. Recorded at Pachyderm Studios in Cannon Falls, Minnesota, the album was made quickly in a short two week period, which captured the band in a raw and live atmosphere. In Utero’s songs were culled from songs that the band had for years, dating back as far as 1990 and newer songs that were written specifically for this album. The songs were modified lyrically and musically to a degree and when combined with the rest of the album they showcased a cohesive narrative.

The opening of “Serve The Servants” proves to be the dissonant opposite of Nervmind’s opening track “Smells Like Teen Spirit”. The lines “Teenage angst has paid off well/Now I’m bored and old” set the mood for what was to come musically and lyrically on In Utero. The song in the context of time and place seems to address Cobain’s reaction to Nirvana’s successes and his life as an adolescent and becoming an adult. The lines “As my bones grew they did hurt/They hurt really bad/I tried hard to have a father/But instead I had a Dad” seem to emphasize all these things. At the same time, while the later line is a reference to Cobain’s relationship with his father, it also is reminiscent of the line “He might be a father/But he sure ain't a Dad” from The Replacements song “Androgynous” found on their 1984 album Let It Be. This further emphasizes their musical intentions, although it was most likely a subconscious thought, it is leaning more towards the underground sound of the college radio aesthetic in which the band was bred as opposed to the crisp produced sound of mainstream rock that they seemed to battle against.

“Scentless Apprentice” attacks even deeper with its heavy drums and guitar riffs. Lyrically the song was influenced by the book Perfume by Patrick Suskind about a perfume apprentice seeking out the perfect scent by murder, even though he has no body odour of his own. The song can be seen as an allegory for the mainstream media, as can quite a few songs throughout this album. “Rape Me” is a bold Punk/Pop concoction that was supposedly inspired by the misinterpretations of Cobain’s past lyrics, “Francis Farmer Will Have Her Revenge On Seattle” once again draws from a literary world, being influenced by the 1978 Biography of actress Frances Farmer entitled Shadowland. Songs such as “Dumb”, “Pennyroyal Tea” and “All Apologies” all lean towards Cobain’s Beatles influenced tendencies, while songs such as “Very Ape”, “Milk It” and “Tourette’s” all lean towards the bands aggressive Punk tendencies.

“Heart-Shaped Box” was the first single released for In Utero. The song quickly shot up the Billboard charts becoming number one on the Billboard Modern Rock Track charts, but it had its origins in 1992. The song is one of the best examples of the bands style featuring the quiet verse and loud chorus dynamic that many of their songs featured. Lyrically the song is said to have a few meanings, the most common being about Cobain’s relationship with Courtney Love, she had according to Charles R. Cross’s Heavier Than Heaven, given Cobain a heart shaped box. And although the song was originally titled “Heart-Shaped Coffin”, many visual images are portrayed throughout the song with lyrics seeming to reference, love, birth and the portrayal of the media. When coupled with the music video shot by Anton Corbjin, it created a striking visual package.

To further add to the album’s aggressive nature, it was originally rejected by the band’s record company, being described as unreleasable initially. The album was recorded in six days and was mixed in five days initially with Steve Albini. After many back and forths with the record company, some overdubs were added to some of the songs such as “Heart-Shaped Box”, “Pennyroyal Tea” and “All Apologies” and they were also remixed by Scott Litt. The title “In Utero” is also equally as important when discussing this album, the songs, and even the artwork which portrayed a transparent anatomical mannequin with angel wings attached. The album’s title “In Utero” is a Latin term meaning in the womb. The title can mean quite a few things when considering the lyrical subject matter found on the album. It could refer to a wanting to return to a simpler time, when not in the public eye of the world or even a rebirth. The themes of birth and death appear throughout the album. Nirvana definitely attempted a rebirth of sorts with this album, coming off different musically and more focused from a lyrical standpoint. In a recent interview with XFM bassist Krist Novoselic had this to say about In Utero:

"I'm really proud of it. It's really good and it is a testimony to the artistic vision of Kurt Cobain. You listen to that record and the intensity and that power and that is a tribute to Kurt's vision."

As a whole, In Utero displayed a more abrasive and aggressive sound that differed from the albums Nevermind and Bleach. The lyrics are angst ridden and at times nihilistic, but match the ambiance that is portrayed throughout the twelve songs found on In Utero. The album ends with the mantra-like drone to the lines “All in all is all we are” from the Beatles-esque “All Apologies”. While many reviewers have pointed out this closing line to the closing track, it is a rather fitting way to end this album. Nirvana always seemed to do what they wanted whether it was the heaviness of Bleach, or the sharply produced Nevermind. In Utero stands on its own and it is what it is. Whether you like it or not or even agree with the many reviews that are popping up all over the internet, In Utero is a rebirth of a band that were at the height of their popularity and ability in approximately 41 minutes.

In September 2013, In Utero celebrated its 20th anniversary and was released in a deluxe package including a DVD of the previously unreleased MTV Live & Loud concert from 1993. Included in this set are B-sides and demos created around the time of the album. Fans have heard many of these songs before, such as the seven minute jam “Gallons of Rubbing Alcohol That Flow Through The Strip” and “Sappy”, but all of them have been given remixed treatment. Also included is a remix of the album done by Steve Albini and the remaining members of Nirvana, several of the tracks featuring alternate parts and harmonies, most notably the solo in “Serve The Servants”. While many fans argue the point of this new mix, it was inspired by Novoselic hearing the recent Doors remasters. The remix was done to look at the songs from “A different angle” as Novoselic put it. The package puts together nicely the album, its B-sides, demos, even an unreleased instrumental song that has not been heard anywhere before called “Forgotten Tune”.

Tuesday, October 08, 2013

Albert Hammond Jr. is perhaps best known as the guitarist in The Strokes, but he has also released several solo albums. In 2006 he released his debut solo album Yours To Keep, in 2008 ¿Cómo Te Llama? was released. Recently it was announced that Albert would release a five song EP to be titled AHJ. The EP is set to be released on Cult Records, the label of fellow Strokes bandmate Julian Casablancas in October of 2013. The first song released online from the EP was "Rude Customer." This track has the vibe of songs found on Yours To Keep, music by The Strokes, but also draws influence from Guided By Voices. It is seen as a come back or return to form by Hammond, who has recently come clean about his four years of sobriety. The above video is for the song "In Transit," a song found on 2006's Yours To Keep. This Video is taken from FaceCulture.

Tuesday, October 01, 2013

Papermaps Darker Lights builds from the momentum and direction that was introduced on 2012’s Inferior Ghost EP. The band brings in an atmospheric and for the most part darker sound, compared to their first self titled album that was released in 2011. On this album there was a bit of a line up change in the group. The band brought in Andy Soto on guitar who is known for his Post-Rock/Shoe Gaze sounding guitar elements, making the band a four piece group. As a whole Darker Lights is an album that sets a certain mood, one that can warrant repeated listens. Influences brought in on this album include bands such as My Bloody Valentine, and elements of Post Punk groups such as Joy Division and Gang of Four to a degree, all of which amalgamate into the sounds and songs found on this album.

The album features songs such as the atmospheric “Shadow Theatre” featuring the mood setting universal lyrics “And when I find myself most of the feeling was gone” that start the album off on a strong note. “The Hedonist” is a fuzzy, guitar driven song, filled with 90’s tinged angst, while “I’ve Closed A Door” features strong harmonies and backwards sound effects. “The Edge of Chinatown” combines the bands textured Post Rock sounds with 90s influences, “One By One” is an 80s sounding track sung by bassist Betty Dimo, “The Memory Song” builds emphasis and affinity for noisy Rock, “Poor City” and “Nobody Gets It” show off the bands new texturized, darker sound and dynamics, while still containing the catchy harmonies and vocal work that the band has displayed on all of their releases thus far. The watery guitar sounding “Vanauley Walk” features the lyric “When you see me fall/you'll watch me turn around/you’ll see my body twist/my feet land on the ground". Parts of this lyric demonstrate the direction and change in the bands dynamics since 2011. Darker Lights shows us a new side of Papermaps and shows us albeit these changes that they face Papermaps will land on their feet.

Listen to the interview I did with Dean Marino about Darker Lights here:

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Revolution Rock is an award winning radio program on CJAM FM that first began broadcasting on CJAM’s airwaves in the late night hours of June 2004. Revolution Rock focuses on 60s garage rock, 70s punk/new wave, surf, alternative, indie and new/old music within those genres. Currently the show can be heard Saturday's from 7-9 PM on CJAM 99.1 FM (in the Windsor/Detroit area) and streamed online at cjam.ca. This is an informative blog that provides band profiles, download links to the radio show, playlists and more.

About Me

I am the host of the Revolution Rock radio program on CJAM 99.1 FM (Windsor/Detroit), freelance blogger/writer, musician and film maker.
Download links to my show are provided by the the CJAM website and can be found at the bottom of each play list on this blog and can also be subscribed to as a podcast.